The Ballad of a Barber by Aubrey Beardsley

Aubrey Beardsley's poem first appeared in the July 1896 issue of The Savoy.

Here is the tale of Carrousel,

The barber of Meridian Street,

He cut, and coiffed, and shaved so well,

That all the world was at his feet.

The King, the Queen, and all the Court,

To no one else would trust their hair,

And reigning belles of every sort

Owed their successes to his care.

With carriage and with cabriolet

Daily Meridian Street was blocked,

Like bees about a bright bouquet

The beaux about his doorway nocked.

Such was his art he could with ease

Curl wit into the dullest face;

Or to a goddess of old Greece

Add a new wonder and a grace.

All powders, paints, and subtle dyes,

And costliest scents that men distil,

And rare pomades, forgot their price

And marvelled at his splendid skill.

The curling irons in his hand

Almost grew quick enough to speak,

The razor was a magic wand

That understood the softest cheek.

Yet with no pride his heart was moved;

He was so modest in his ways!

His daily task was all he loved,

And now and then a little praise.

An equal care he would bestow

On problems simple or complex;

And nobody had seen him show

A preference for either sex.

How came it then one summer day,

Coimng the daughter of the King,

He lengthened out the least delay

And loitered in his hairdressing?

The Princess was a pretty child,

Thirteen years old, or thereabout.

She was as joyous and as wild

As spring flowers when the sun is out.

Her gold hair fell down to her feet

And hung about her pretty eyes;

She was as lyrical and sweet

As one of Schubert's melodies.

Three times the barber curled a lock,

And thrice he straightened it again;

And twice the irons scorched her frock,

And twice he stumbled in her train.

His fingers lost their cunning quite,

His ivory combs obeyed no more;

Something or other dimmed his sight,

And moved mysteriously the floor.

He leant upon the toilet table,

His fingers fumbled in his breast;

He felt as foolish as a fable,

And feeble as a pointless jest.

He snatched a bottle of Cologne,

And broke the neck between his hands;

He felt as if he was alone,

And mighty as a king's commands.

The Princess gave a little scream,

Carrousel's cut was sharp and deep;

He left her softly as a dream

That leaves a sleeper to his sleep.

He left the room on pointed feet;

Smiling that things had gone so well.

They hanged him in Meridian Street.

You pray in vain for Carrousel.

Herbert Schmalz

I first became aware of, and interested in, Herbert Schmalz when I saw the painting below, Rabboni, which can be seen along with a few more of his works in Bramhall Hall, Stockport. I thought it was rather Pre-Raphaelite but nicely different, so decided to research into the artist. My searches resulted in finding not a great amount of work, but work of exceptional talent and beauty.

Rabboni

Herbert Gustave Schmalz was born in Ryton, Tyne and Wear, in 1856; the son of a German father and English mother. He studied at the South Kensington Art School, then at the Royal Academy with Frank Dicksee, Arthur hacker and Stanhope Forbes. He was friends with William Holman Hunt, Frederic Leighton and Val Prinsep.
Schmalz's best known works at the time were historical in theme, with strong influences from the Pre-Raphaelites, an influence which he retained throughout his life. After a trip to Jeruselam, a fashionable trip of the time and probably inspired by Holman Hunt, he produced many Biblical themed paintings, such as Return From Calvary, below.

Return From Calvary 1891

During the 1890's Schmalz turned increasingly to painting portraits and works of classical themes. He had his own solo exhibition in 1900 entitled 'A Dream Of Fair Women', at the Fine Art Society on Bond Street. After the First World War Schmalz changed his name to John Wilson Carmichael. He died in London in 1935.

Denise 1883

Too Late c.1884-6

The Great Awakening

Iphigenia

The Daughter of Jairus

The Awakening of Galatea 

Pre-Raphaelite Depictions of Death

Death is a common feature in many works of art, and shown in many forms. The artists associated with the Pre-Raphaelite movement did not shy from depicting this rather sensitive subject. It is interesting that the in the Victorian period, with its many taboos, society did not hide the subject of death, but rather it became more popular than it ever had been. The 19th century gave rise to Gothic literature, helped with advances in medicine and anatomy, which dealt with the nature of death, both physical and mentally, in a different way than previously - take for example Mary Shelley's Frankenstein or the stories of Edgar Allan Poe. The invention of photography in the Victorian era in turn invented the rather macabre and original idea of Post Mortem photography, which was a way for families to keep a physical memory of the deceased, for often it was the only photograph ever taken of the person.

This post will deal with Pre-Raphaelite interpretations and depictions of Death in art.

Ophelia 1851-2 John Everett Millais

Millais' Ophelia is probably the most famous of all Pre-Raphaelite paintings that deals with death. The painting shows the point, from Shakespeare's Hamlet, where Ophelia goes mad when her lover, Hamlet, murders her father, and she drowns herself in a stream. The flowers in the stream all have significance (of which the Victorian public would have been familiar) - for example poppies signify eternal sleep; death, and violets for faithfulness, chastity or death of the young,

The Death of Chatterton 1856 Henry Wallis

Wallis' painting depicts the death of Thomas Chatterton, a young romantic poet/forger of medieval poetry. Chatterton died of arsenic poisoning at the age of 17; either a suicide attempt or an attempt to medicate a venereal disease. Chatterton was praised and considered a Romantic hero by many of the Pre-Raphaelites of that time; idolised and commemorated by Rossetti in his 'Five English poets', and by Wallis in this painting. Shelley, Keats, Wordsworth and Coleridge also wrote poems about the young poet; Keats inscribed Endymion 'to the memory of Thomas Chatterton'. Wallis, in keeping with Pre-Raphaelite ideals, used vibrant colours and realistic and symbolic details - the brightness of the poets breeches and jacket signifies his youth and genius, and the fallen rose petals and guttering candle symbolise a life cut short. The place in which Wallis painted this scene was in fact very near to where Chatterton died, though it is uncertain whether he knew that. Wallis used the young George Meredith for the figure of Chatterton.

Oh What's That in the Hollow? 1895 Edward Robert Hughes

This painting is rather unusual for Hughes, whose other works are nowhere near as dark as this. However, it is very much inkeeping with Huges' style of painting. The roses that surround the corpse look reminiscent of Edward Burne-Jone's  series of paintings The Legend of Briar Rose, completed a few years earlier. In this painting, Hughes has chosen to depict the fourth stanza from Christina Rossetti's poem Amor Mundi, in which two lovers encounter foreboding omens and dead bodies while walking together:

“Oh what is that glides quickly where velvet flowers grow thickly, 

Their scent comes rich and sickly?”—“A scaled and hooded worm.”

“Oh what’s that in the hollow, so pale I quake to follow?” 

“Oh that’s a thin dead body which waits the eternal term.”

The Stonebreaker 1857 Henry Wallis  

This painting by Wallis at first depicts a stone-breaker resting after a hard day's work. It is only after closer inspection that the viewer begins to sense something more sinister. The hammer has slipped out of the mans hand, not placed, and he lies in an unnatural position. The twilight and autumn season signify the ending of life. When I went to see this painting at the Tate, it was only from studying it in reality that I realized that the man was dead; if you look closely there is a little stoat approaching the man's foot, which would not come that close if the stonebreaker was anything other than dead. Wallis is thought to have painted The Stonebreaker as a response to the 1834 Poor Law Amendment Act, which formalised the workhouse system as a way of regulating the poor, and discouraged other forms of relief.  Given the context of this, Wallis can be seen to be commenting on the treatment of the poor at the time in England, especially the way that government dealt with the problem. On a more jolly note; the sunset is stunning.

Hypnos and Thanatos: Sleep and His Half-Brother Death 1874 John William Waterhouse

This painting by Waterhouse depicts the Ancient Greek personifications of Sleep and Death. Sleep, Hyponos, can be identified as the first brother with poppies in his hand - a symbol of sleep. Thanatos was the Ancient Greek personification of Death; a minor God who, though often referred to, rarely appeared in person. Thanatos was often shown as a cruel and heartless god, so it is unusual how Waterhouse chooses to depict him as a harmless looking youth. Interestingly, though, in Ancient Greek times Thanatos was mostly shown as a winged man, but as death became though less of a horrible demise and more of a gentle passing and part of life, Thanatos began to be depicted as a youth or even cherub; differing from Cupid by crossed legs and an upside-down torch - signifying life extinguished.

Death Crowning Innocence 1886-7 George Frederic Watts

Watts' Death Crowning Innocence is an unusual depiction of death. As with most of Watts' works the meaning is rather elusive and ambiguous. An interesting detail is that Death is portrayed as a female figure - a kind of inverted Madonna and Child - instead of eternal life the figures represent the certainty of death as the final part of life. The use of a female motherly figure could also suggest the dangers of childbirth at the times - as well as being a giver of life, the mother can also bring death upon the child. The composition of this painting is intriguing - the viewer is looking in between the wings of Death, the light source is uncertain and the background is dark; all the viewer's attention is focused on the two figures.

The Angel of Death 1881 Evelyn De Morgan 

This painting by Evelyn De Morgan depicts the Angel of Death. The gender of the figure is ambiguous and it seems almost a gentle being - Death is not an unwanted presence, but a thing to be embraced. The composition of the painting is very effective - the posture of the two figures echo each other, and it is very flat in composition, like a Renaissance painting, drawing the viewer's eye to the figures in the centre. The cypress trees in the background are symbols of death - in Ancient Greek and Roman times the cypress was known as 'the mourning tree' and it was linked with the Gods of the Underworld, Fate and the Furies. The cypress is also though of as a symbol of hope - for the trees are pointing towards heaven. 

Field of the Slain 1916 Evelyn De Morgan

In this painting De Morgan depicts the Angel of Death as female, lending a rather motherly, caring quality to a figure that is usually morbid and sinister. Given the date and the title, this painting could be taken as De Morgan's response to the horrors of the First World War.

Twilight, Pity and Death 1889 Simeon Solomon

Death features a lot in many of Simeon Solomon's works. The above watercolour shows personifications of Twilight, head lifted to the sky; Pity, a flame burning above the head; and Death, eyes closed and clad in armor. The depiction of Death is an interesting one; it is one of the most discernibly male figures in Solomon's work - most of his figures are decidedly androgynous and ambiguous. Below are some other of Solomon's drawings which feature Death.

. L'Angelo Della Morte (The Angel of Death) 1896

Death Awakening Sleep 1896

Sin Gazing Upon Eternal Death 

Sleep At The Antichamber Of Death 1896

A Brief History of the Corset

 The corset has been an important piece of clothing for hundreds of years, and has gone through many changes.
Laced bodices have been used in many different fashions and countries throughout history, as can be seen in the national dress of many countries, but the use of the corset as a type of underwear only became popular in the 16th century.

The corset as an undergarment was used in Italy in the 16th century, and spread throughout Europe when Catherine de Medici introduced it into France. These corsets were conical in shape, and the emphasis was not placed on the waist, as in later years, but the contrast between the fullness of the skirts and breasts. By the 1550s this corset was popular and common with many women in Europe. Earlier, the corset was not boned, but the fabric stiffened with glue, but by this time a 'busk', a flat piece of whalebone or wood, was being incorporated into the front of the corset, to keep the garments stiffness. The look of the 16th century corset was on a flat stomach, the torso conical in shape and narrowing to below the hips - a 'stomacher' was used to achieve this look, as can be seen in the portrait of Queen Elizabeth I. By the Elizabethan era, whalebone was used to help keep the corset's shape. Despite its popularity, not everybody wore a corset; Mary, Queen of Scots, for example did not.

By the 18th century, the corset had stayed relatively the same; the inverted conical shape was still popular and its purpose was not yet to achieve a narrow waist - it was worn to support the breasts and back, and improve posture. Because the 18th century corset was not narrow at the waist, and did not extend to the hips, it was relatively comfortable to wear, and did not restrict breathing; this allowed women to wear a corset and still work, though bending at the waist was not possible because of the boned structure. This corset remained popular all through the Georgian era, but by the 1800s the corset had changed to suit new fashion.

From around 1795 to 1820 the fashion for both men and women had changed dramatically. Gone were the masses of skirts and bright colours of the Georgian eras; the 'age of undress' had arrived in the form of sheer muslin gowns and soft pastel colours. The waistline had risen to just below the bust - the classically inspired empire silhouette did not require a corset that fit tight on the waist, but a garment was still needed to support the bust. Looking back, the Regency stays could be considered an early version of the bra, but the corset worn often extended to the waist to give support.

Two variations of Regency corsets - the first usually being worn by younger women, and the second by older, to keep a good figure.

By the Victorian era, corsets had developed into the variety we know today, synonymous with the restricting Victorian society and fashion. With the fashion of the early and middle 19th century, when wide skirts and hourglass figures were popular, the corset could no longer create the illusion of a small waist; the waist would have to be narrowed using heavily boned corsets. This led to the creating of the typical hourglass corset, which we all recognise. Tight-lacing became popular in the 1840s and 50s, which often caused serious health problems. The Victorian corset differed in many ways to the ones of earlier centuries - there was no longer straps at the shoulders, and it extended to below the hips. Rather than being an inverted cone shape, the corset became purposefully curvaceous. Whereas before, most corsets were made by hand, the Victorian ere saw the mass production of corsets, which remained popular until the end of the century.

Only nearing the end of the century did the obsession with a tiny waist give rise to concerns in health.  The Rational Dress Society tried to promote the wearing of ' health corsets' and condemned tight-lacing. At the time corsets were believed to be the cause of health ailment such as hysteria or liver failure, but did actually seriously affect breathing, digestion and pregnancy. A maternity corset was introduced, to supposedly help support a woman during the whole of her pregnancy, when in fact the wearing of any sort of corset could have potential life threatening damage on both mother and child.

Despite the late 18th century opposition to corsets, the 1890s and Edwardian era saw the introduction of a new type of corset. The straight-front, or swan-bill, corset became very popular. Its name derived from the solid busk that flattened the front, which pushed the back and hips backwards and the breast forward, creating an s-shaped silhouette. It was also known as the 'health corset', but it was, in fact, considerably unhealthy. The way it pushed the figure behind put unnatural strain on the back, and often were the source of much back and spinal injury.

Two examples of corsets - the first an example of the Edwardian corset, note the position it forces upon the wearer. The second a beautiful example of an 1890 corset; although they were undergarments and not meant to be seen, most corsets were elaborately designed, in many fantastic colours. This had came about by the invention of different fabrics and artificial dyes.

 The first image is an x-ray from 1904, showing the effect corsets had on the internal organs and bone structure; the ribs are crushed and many organs are forced downwards. The second image is a late Victorian advertisement, which highlights the difference in posture the corset produces.

The corset remained a necerssary item to many womens wardrobe in the Edwardian era. It was only during the First World War that they began to decrease in popularity, becuase women were discouraged from purchasing corsets, for the steel used in the garments was wanted for the weapons production instead. other factors such as changing fashions and more equality for women led to the demise of the corset, until it has very much disappeared from society.

The Rape of Europa

The Rape of Europa is a well known Greek myth, Cretan in origin, which deals with the abduction of Europa by Zeus, disguised as a bull. The first mention of the story was in Homer's Illiad, which is usually dated to around 8 century BCE. This version is from Ovid's Metamorphoses.
'Majesty and love go ill together, nor can they long share one abode. Abandoning the dignity of his sceptre, the father and ruler of the gods, whose hand wields the flaming three-forked bolt, whose nod shakes the universe, adopted the guise of a bull; and, mingling with the other bullocks, joined in their lowing and ambled in the tender grass, a fair sight to see. His hide was white as untrodden snow, snow not yet melted by the rainy South wind. The muscles stood out on his neck, and deep folds of skin hung along his flanks. His horns were small, it is true, but so beautifully made that you would swear they were the work of an artist, more polished and shining than any jewel. There was no menace in the set of his head or in his eyes; he looked completely placid.
Agenor's daughter was filled with admiration for one so handsome and so friendly. But, gentle though he seemed, she was afraid at first to touch him; then she went closer, and held out flowers to his shining lips. The lover was delighted and, until he could achieve his hoped-for pleasure, kissed her hands. He could scarcely wait for the rest, only with great difficulty did he restrain himself.
Now he frolicked and played on the green turf, now lay down, all snowy white on the yellow sand. Gradually the princess lost her fear, and with her innocent hands she stroked his breast when he offered it for her caress, and hung fresh garlands on his horns; till finally she even ventured to mount the bull, little knowing on whose back she was resting. Then the god drew away from the shore by easy stages, first planting the hooves that were part of his disguise in the surf at the water's edge, and then proceeding farther out to sea, till he bore his booty away over the wide stretches of mid ocean. The girl was sorely frightened, and looked back at the sands behind her, from which she had been carried away. Her right hand grasped the bulls horn, the other rested on his back, and her fluttering garments floated in the breeze.'

After the abduction, Zeus reveals his true identity, and Europa became the first Queen of Crete. Zeus also recreates his disguise, the bull, as a constellation, which is now known as Taurus.
I have included a selection of art, depicting different versions of the myth, from different eras.

Guido Reni 1637-0

Noel Nicolas Coypel 1727

Peter Paul Rubens 1630

From a Fresco in Pompeii

From a Greek vase circa 480 BCE

The Story of Daphne and Apollo

The myth of Daphne and Apollo has been a favourite story to depict in art for hundreds of years. The story is that the god Apollo falls in love with a young maiden, Daphne, who flees from his advances. When caught, Daphne calls to the gods for help, and is consequently turned into a laurel tree. This extract is taken from Ovid's Metamorphoses, and I have included a small selection of art depicting the myth, from different periods of history.

'He would have said more, but the frightened maiden fled from him, leaving him with his words unfinished; even then, she was graceful to see, as the wind bared her limbs and its gusts stirred her garments, blowing them out behind her. Her hair streamed in the light breeze, and her beauty was enhanced by her flight. But the youthful god could not endure to waste his time on further blandishments and, as love itself prompted, sped swiftly after her. Even so, when a Gallic hound spies a hare in some open meadow he tries by his swiftness to secure his prey, while the hare, by her swiftness, seeks safety: the dog, seeming just about to fasten on his quarry, hopes at every moment that he has her, and grazes her hindquarters with outstretched muzzle, but the hare, uncertain whether she has not already been caught, snatches herself out of his very jaws, and escapes the teeth which almost touch her.
Thus the god and the nymph sped on, one made swift by hope and one by fear; but he who pursued was swifter, for he was assisted by love's wings. He gave the fleeing maiden no respite, but followed close on  her heels, and his breath touched the locks that lay scattered on her neck, till Daphne's strength was spent, and she grew pale and weary with the effort of her swift flight. Then she aw the waters of the Peneus; 'O father,' she cried, 'help me! If you rivers really have divine powers, work some transformation, and destroy this beauty which makes me please all too well!' Her prayer was scarcely ended when a deep languor took hold of her limbs, her soft breath was enclosed in thin bark, her hair grew into leaves, her arms into branches, and her feet that were lately so swift were held fast by sluggish roots, while her face became the treetop. Nothing of her was left, except her shining loveliness.
Even as a tree, Phoebus loved her. He placed his hand against the trunk, and felt her heart still beating under the new bark. Embracing the branches as if they were limbs he kissed the wood: but, even as a tree, she shrank from his kisses. Then the god said: 'Since you cannot be my bride, surely you will at least be my tree. My hair, my lyre, my quivers will always display the laurel. You will accompany the generals of Rome, when the Capitol beholds their long triumphal processions, when joyful voices raise the song of victory. You will stand by Augustus' gateposts too, faithfully guarding his doors, and will hang there. Further, as my head is ever young, my tresses never shorn, so do you also, at all times, wear the crowning glory of never-fading foliage.' Paean, the healer, had done: the laurel tree inclined her newmade branches, and seemed to nod her leafy top, as if it were a head, in consent.'

John William Waterhouse

Bernini

Antonio del Pollaiolo

Arthur Hacker

Hubert von Herkomer

Not art, but an amazing photo nonetheless - the tree actually looks like a dancer...Daphne?!?

Music of the Month - June

I am very sorry for the rather large gap in my Music of the Month posts... I have been revising and sitting my AS Level exams, so have been rather busy. All finished now though! To get me through the rather stressful exam time I have been listening to a lot of soothing music. The summer is here finally and the festival season is upon us. I am very excited for Glastonbury this year and wish I was going, but I shall be content with the TV coverage. More excitement is on it's way as I am lucky enough to be seeing Matt Corby this weekend, and Mumford & Sons, plus many amazing guests, next month. It has been a little worrying as Ted Dwane, from Mumford & Sons, has been rather ill with a blood clot on the brain recently, but all is fine and he will hopefully be well enough to play at Glastonbury and the London gig. Anyhow... Here is the music I have been listening to these months; I hope you enjoy it as much as I do! If anybody has any music suggestions I would be delighted to hear them!

Iron & Wine - Jezabel and Boy With A Coin
Iron & Wine, aka Sam Beam, is the most perfect music for getting rid of stress. His voice is so soothing and the blend of instruments, guitar, banjo, accordion, electric guitar, drums etc, make a beautiful combination. I fully recommend the album Our Endless Numbered Days for listening to after a long day - it is soothing yet compelling, both musically and lyrically. Jezabel is a fantastic song, taken from the astoundingly good Woman King EP. It is rich and rhythmical, and makes a thoroughly enjoyable and fascinating listen. Boy With A Coin is another amazing Iron & Wine song, with a wonderful video - the dancers are beautiful.

Dry The River - Bible Belt and New Ceremony

Dry The River are one of my favourite bands of all time. Their sound is so unusual yet familiar at the same time. It is difficult to provide a simple explanation for what the music is that this band creates; it is extremely complex and varied, taking elements from folk, rock, emo, Americana and gospel. Their debut album Shallow Bed is wonderful, taking the bands acoustic versions on YouTube to another level and introducing much energy and atmosphere. However, the acoustic versions  are still equally as fantastic. The Shallow Bed (Acoustic) album showcases the more folky side to the band, highlighting Pete Liddle's fragile vocals, the wonderful harmonies and the violin. Religious influence is very clear in many of the songs, such as Bible Belt and Shaker Hymns - these songs also draw on aspects of American history and the King James bible, lending the tracks a certain seriousness. It was very hard to settle on just two tracks, but I think that Bible Belt and New Ceremony show Dry The River in all their complex and wonderful beauty.

Christopher Paul Stelling - Solar Flares and Brick x Brick

Christopher Paul Stelling is one amazing musician. In my opinion his guitar playing cannot be matched in beauty and excellence. It is too fantastic for words. His new album False Cities is wonderful and I cannot recommend it highly enough, the same goes for his Songs of Praise and Scorn album. The song, Never Been There, I consider to be the most darkly beautiful piece of music ever, of which I was sad not to be able to upload a video. Solar Flares is lovely and the recent song Brick x Brick, taken form Christopher's new album, is fantastic - the video is great too.